{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026facet.sort=index\u0026page=6184","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026facet.sort=index\u0026page=6183","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026facet.sort=index\u0026page=6185","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1974\u0026facet.sort=index\u0026page=6187"},"meta":{"pages":{"current_page":6184,"next_page":6185,"prev_page":6183,"total_pages":6187,"limit_value":10,"offset_value":61830,"total_count":61861,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_vifgm00092","type":"collection","attributes":{"title":"Zelda Fichandler papers, 1950/2000","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00092#creator","type":"document_value","attributes":{"value":"Zelda Fichandler","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00092#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains the working and personal papers of Zelda Fichandler. 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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00092#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00092","ead_ssi":"vifgm_vifgm00092","_root_":"vifgm_vifgm00092","_nest_parent_":"vifgm_vifgm00092","ead_source_url_ssi":"data/gmu/vifgm00092.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Zelda Fichandler papers"],"title_tesim":["Zelda Fichandler papers"],"unitdate_ssm":["1950-2000"],"unitdate_inclusive_ssm":["1950-2000"],"normalized_date_ssm":["1950/2000"],"normalized_title_ssm":["Zelda Fichandler papers, 1950/2000"],"text":["Zelda Fichandler papers, 1950/2000","C0010","Theater--Washington (D.C.)","Collection is open to research.","Organized by folder.","Zelda Fichandler was the Founding Director of Arena Stage in Washington, D.C. and its primary artistic force from 1950-1990. Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.","Zelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.","Zelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.","Zelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","The bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973.","There are no restrictions.","This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Zelda Fichandler","English"],"collection_title_tesim":["Zelda Fichandler papers, 1950/2000"],"collection_ssim":["Zelda Fichandler papers, 1950/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0010"],"unitid_tesim":["C0010"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Zelda Fichandler"],"creator_ssim":["Zelda Fichandler"],"creator_persname_ssim":["Zelda Fichandler"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Zelda Fichandler","George Mason University. 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Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Zelda Fichandler was the Founding Director of Arena Stage in Washington, D.C. and its primary artistic force from 1950-1990. Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.","Zelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.","Zelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.","Zelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor."],"prefercite_html_tesm":["\u003cp\u003eZelda Fichandler papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Zelda Fichandler papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.\n\u003c/p\u003e\n      ","\u003cp\u003e\nThe bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","The bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda."],"corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Zelda Fichandler"],"names_ssim":["George Mason University. 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Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.","Zelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.","Zelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.","Zelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","The bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973.","There are no restrictions.","This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Zelda Fichandler","English"],"collection_title_tesim":["Zelda Fichandler papers, 1950/2000"],"collection_ssim":["Zelda Fichandler papers, 1950/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0010"],"unitid_tesim":["C0010"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Zelda Fichandler"],"creator_ssim":["Zelda Fichandler"],"creator_persname_ssim":["Zelda Fichandler"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Zelda Fichandler","George Mason University. 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Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.\n\u003c/p\u003e\n      ","\u003cp\u003e\nZelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Zelda Fichandler was the Founding Director of Arena Stage in Washington, D.C. and its primary artistic force from 1950-1990. Her history-making example, force of personality, and eloquence as a speaker and writer have made her a leading national figure in the performing arts and Arena Stage a model for scores of cultural institutions established around the country. Zelda's personal vision for theatre has had a transforming effect on the entire field, switching the axis from Broadway to the rest of the nation in the production of new work. She is considered a parent of the regional theatre in America.","Zelda embraced a vast sweep of dramatic literature which reverberated through the commercial and non-commercial theatre world and into film and television. She directed many of Arena's productions including Mrs. Klein, Uncle Vanya, The Three Sisters, Death of a Salesman, An Enemy of the People, Six Characters in Search of an Author, and A Doll House; and the American premieres of new Eastern European works, Duck Hunting, The Ascent of Mt. Fuji, and Screenplay. Arena Stage was the first American theatre company, sponsored by the State Department, to tour the then-Soviet Union. Her Inherit the Wind played in Moscow and St. Petersburg in 1973, the company performed her After the Fall at the 1980 Hong Kong Arts Festival, and in 1987, her production of The Crucible appeared at the Israel Festival in Jerusalem.\nAs a producer, Zelda nurtured all of Arena's plays, making a home for important European playwrights like Brecht, Frisch, Ionesco, Mrozek, and Orkeny, alongside significant American revivals of works by Albee, Miller, Williams, O'Neill, Thornton Wilder, Kaufman and Hart and classics by Shakespeare, Shaw, Moliere, Ibsen, and others. Broadway, too, has felt the impact of Zelda's work, especially with the development of new plays. The Great White Hope, Indians, Moonchildren, Pueblo, A History of the American Film, The Madness of God, Raisin, and K2 all started at Arena Stage. She left the artistic leadership of Arena in 1991 to her close associate, Douglas C. Wager.\nZelda also made Arena the theatre of the \"second chance,\" where plays like Summer of the 17th Doll, Saturday, Sunday, Monday, and The Comedians found life after commercial failure in New York.","Zelda's concern for the development of young actors led her, in 1984, to take on, in addition, the role of Chair of the Graduate Acting Program and Master Teacher of Acting and Directing at New York University's Tisch School of the Arts, a position which she continues to fill. Graduates of this premier program now occupy leading positions in film, television, and the stage, winning top awards in the various media. From 1991 through 1994, she also served as the Artistic Director of The Acting Company, a young company of actors that tours a classical repertory throughout America. The link between professional theatre and training is important to Zelda as a means \"to attract young people to the benefits of company work and to train them to perform in the broadest repertory.\" The idea of \"company\" has animated her work since the beginning, and her goal now is to establish in New York an acting company composed primarily of graduates from the Graduate Acting Program. Many agents, casting directors, and stage directors consider the Program at Tisch to be the most innovative and creative in the country.","Zelda has received the National Medal of the Arts, awarded in 1997 by President Clinton, the Common Wealth Award for distinguished service to the dramatic arts, The Brandeis University Creative Arts award, The Acting Company's John Houseman Award for commitment to the development of young American actors, the Margo Jones Award for the production of new plays, Washingtonian of the Year Award, the Ortho 21st Century Women Trailblazer Award, and the Society for Stage Directors and Choreographers George Abbott Award. The New York commercial theatre world awarded Zelda and Arena Stage the Antoinette Perry or 'Tony' Award in 1976, the first to be given to a company outside New York. In 1999 she was inducted into the Theatre Hall of Fame, making her the first artistic leader outside of New York to receive this honor."],"prefercite_html_tesm":["\u003cp\u003eZelda Fichandler papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Zelda Fichandler papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.\n\u003c/p\u003e\n      ","\u003cp\u003e\nThe bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.","The bulk of collection contains Zelda's research of plays including; playbills and programs, reviews, articles, correspondence regarding plays and their past productions and audience response letters.\nItems of note include many papers regarding the original production of The Great White Hope, and information regarding Arena Stages tour of Russia in 1973."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains the working and personal papers of Zelda Fichandler.  Items include correspondence regarding productions, staff, finances, playwrights and actors as well as personal matters and speeches and remarks given by Zelda."],"corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Zelda Fichandler"],"names_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Zelda Fichandler"],"language_ssim":["English"],"total_component_count_is":2919,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:44.668Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_vifgm00092"}},{"id":"vircu_repositories_5_resources_574","type":"collection","attributes":{"title":"Zelda K. Nordlinger Papers, 1970/2008","creator":{"id":"https://search.arvasarchive.org/catalog/vircu_repositories_5_resources_574#creator","type":"document_value","attributes":{"value":"Nordlinger, Zelda Kingoff","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vircu_repositories_5_resources_574#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vircu_repositories_5_resources_574#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vircu_repositories_5_resources_574","ead_ssi":"vircu_repositories_5_resources_574","_root_":"vircu_repositories_5_resources_574","_nest_parent_":"vircu_repositories_5_resources_574","ead_source_url_ssi":"data/oai/VCU/repositories_5_resources_574.xml","title_filing_ssi":"Nordlinger, Zelda K., Papers","title_ssm":["Zelda K. Nordlinger Papers"],"title_tesim":["Zelda K. Nordlinger Papers"],"unitdate_ssm":["1970-2008"],"unitdate_inclusive_ssm":["1970-2008"],"normalized_date_ssm":["1970/2008"],"normalized_title_ssm":["Zelda K. Nordlinger Papers, 1970/2008"],"text":["Zelda K. Nordlinger Papers, 1970/2008","M 89","/repositories/5/resources/574","Women -- Political activity -- Virginia -- Richmond","Women's rights","The collection is open for research.","The collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.","Series 1\n        Personal Files, 1970-2008\n      \n      \n        Series 2\n        Subject Files, 1972-2000","Zelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.","Nordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood.","As a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as The Back Page, The New Yorker, and Ms. Magazine.","Nordlinger died March 18, 2008, in Richmond, Virginia.","Sources:","Robertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" Richmond Times-Dispatch.   (Article link)","VCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n (Interview link)","The Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals.","Series 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women.","Included with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality.","Informational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.","Correspondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.","Examples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories.","Series 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women.","Additionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications Ms. Magazine, The Woman's Calendar, and Mother Jones. Other magazines used for her research include the first issue of Playgirl and an issue of Time. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society.","There are no restrictions.","VCU James Branch Cabell Library","National Organization for Women","Nordlinger, Zelda Kingoff","English"],"collection_title_tesim":["Zelda K. Nordlinger Papers, 1970/2008"],"collection_ssim":["Zelda K. Nordlinger Papers, 1970/2008"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M 89","/repositories/5/resources/574"],"unitid_tesim":["M 89","/repositories/5/resources/574"],"repository_ssm":["Virginia Commonwealth University, Cabell Library"],"repository_ssim":["Virginia Commonwealth University, Cabell Library"],"creator_ssm":["Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"creator_ssim":["Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"creator_persname_ssim":["Nordlinger, Zelda Kingoff"],"creator_corpname_ssim":["VCU James Branch Cabell Library","National Organization for Women"],"creators_ssim":["Nordlinger, Zelda Kingoff","VCU James Branch Cabell Library","National Organization for Women"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Gift of Zelda K. Nordlinger in 2000, and Betsy Brinson in 2008."],"access_subjects_ssim":["Women -- Political activity -- Virginia -- Richmond","Women's rights"],"access_subjects_ssm":["Women -- Political activity -- Virginia -- Richmond","Women's rights"],"has_online_content_ssim":["false"],"extent_ssm":["3.59 Linear Feet 4 Boxes"],"extent_tesim":["3.59 Linear Feet 4 Boxes"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1970-2008\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eSubject Files, 1972-2000\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.","Series 1\n        Personal Files, 1970-2008\n      \n      \n        Series 2\n        Subject Files, 1972-2000"],"bioghist_html_tesm":["\u003cp\u003eZelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.\u003c/p\u003e","\u003cp\u003eNordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood. \u003c/p\u003e","\u003cp\u003eAs a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as \u003ctitle\u003eThe Back Page\u003c/title\u003e, \u003ctitle\u003eThe New Yorker\u003c/title\u003e, and \u003ctitle\u003eMs. Magazine\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eNordlinger died March 18, 2008, in Richmond, Virginia. \u003c/p\u003e","\u003cp\u003eSources:\u003c/p\u003e","\u003cp\u003eRobertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" \u003ctitle\u003eRichmond Times-Dispatch\u003c/title\u003e.  \u003cextref type=\"simple\" href=\"https://www.richmond.com/entertainment/zelda-k-nordlinger-feminist-activist-dies/article_179f2bbf-6612-52f0-a8c7-77d83f243385.html\"\u003e (Article link) \u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eVCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n\u003cextref type=\"simple\" href=\"https://digital.library.vcu.edu/islandora/object/vcu%3Aohi?page=1\"\u003e (Interview link)\u003c/extref\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Zelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.","Nordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood.","As a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as The Back Page, The New Yorker, and Ms. Magazine.","Nordlinger died March 18, 2008, in Richmond, Virginia.","Sources:","Robertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" Richmond Times-Dispatch.   (Article link)","VCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n (Interview link)"],"prefercite_html_tesm":["\u003cp\u003eZelda K. Nordlinger papers, 1970-2008, Collection # M 089, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA.\u003c/p\u003e  "],"prefercite_tesim":["Zelda K. Nordlinger papers, 1970-2008, Collection # M 089, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA."],"scopecontent_html_tesm":["\u003cp\u003eThe Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals. \u003c/p\u003e","\u003cp\u003eSeries 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women. \u003c/p\u003e","\u003cp\u003eIncluded with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality. \u003c/p\u003e","\u003cp\u003eInformational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.\u003c/p\u003e","\u003cp\u003eCorrespondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.\u003c/p\u003e","\u003cp\u003eExamples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories. \u003c/p\u003e","\u003cp\u003eSeries 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women. \u003c/p\u003e","\u003cp\u003eAdditionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications \u003ctitle\u003eMs. Magazine\u003c/title\u003e, \u003ctitle\u003eThe Woman's Calendar\u003c/title\u003e, and \u003ctitle\u003eMother Jones\u003c/title\u003e. Other magazines used for her research include the first issue of \u003ctitle\u003ePlaygirl\u003c/title\u003e and an issue of \u003ctitle\u003eTime\u003c/title\u003e. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals.","Series 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women.","Included with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality.","Informational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.","Correspondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.","Examples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories.","Series 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women.","Additionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications Ms. Magazine, The Woman's Calendar, and Mother Jones. Other magazines used for her research include the first issue of Playgirl and an issue of Time. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"corpname_ssim":["VCU James Branch Cabell Library","National Organization for Women"],"names_coll_ssim":["National Organization for Women","Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"persname_ssim":["Nordlinger, Zelda Kingoff"],"names_ssim":["VCU James Branch Cabell Library","National Organization for Women","Nordlinger, Zelda Kingoff"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":73,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:16.668Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vircu_repositories_5_resources_574","ead_ssi":"vircu_repositories_5_resources_574","_root_":"vircu_repositories_5_resources_574","_nest_parent_":"vircu_repositories_5_resources_574","ead_source_url_ssi":"data/oai/VCU/repositories_5_resources_574.xml","title_filing_ssi":"Nordlinger, Zelda K., Papers","title_ssm":["Zelda K. Nordlinger Papers"],"title_tesim":["Zelda K. Nordlinger Papers"],"unitdate_ssm":["1970-2008"],"unitdate_inclusive_ssm":["1970-2008"],"normalized_date_ssm":["1970/2008"],"normalized_title_ssm":["Zelda K. Nordlinger Papers, 1970/2008"],"text":["Zelda K. Nordlinger Papers, 1970/2008","M 89","/repositories/5/resources/574","Women -- Political activity -- Virginia -- Richmond","Women's rights","The collection is open for research.","The collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.","Series 1\n        Personal Files, 1970-2008\n      \n      \n        Series 2\n        Subject Files, 1972-2000","Zelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.","Nordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood.","As a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as The Back Page, The New Yorker, and Ms. Magazine.","Nordlinger died March 18, 2008, in Richmond, Virginia.","Sources:","Robertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" Richmond Times-Dispatch.   (Article link)","VCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n (Interview link)","The Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals.","Series 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women.","Included with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality.","Informational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.","Correspondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.","Examples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories.","Series 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women.","Additionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications Ms. Magazine, The Woman's Calendar, and Mother Jones. Other magazines used for her research include the first issue of Playgirl and an issue of Time. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society.","There are no restrictions.","VCU James Branch Cabell Library","National Organization for Women","Nordlinger, Zelda Kingoff","English"],"collection_title_tesim":["Zelda K. Nordlinger Papers, 1970/2008"],"collection_ssim":["Zelda K. Nordlinger Papers, 1970/2008"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M 89","/repositories/5/resources/574"],"unitid_tesim":["M 89","/repositories/5/resources/574"],"repository_ssm":["Virginia Commonwealth University, Cabell Library"],"repository_ssim":["Virginia Commonwealth University, Cabell Library"],"creator_ssm":["Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"creator_ssim":["Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"creator_persname_ssim":["Nordlinger, Zelda Kingoff"],"creator_corpname_ssim":["VCU James Branch Cabell Library","National Organization for Women"],"creators_ssim":["Nordlinger, Zelda Kingoff","VCU James Branch Cabell Library","National Organization for Women"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Gift of Zelda K. Nordlinger in 2000, and Betsy Brinson in 2008."],"access_subjects_ssim":["Women -- Political activity -- Virginia -- Richmond","Women's rights"],"access_subjects_ssm":["Women -- Political activity -- Virginia -- Richmond","Women's rights"],"has_online_content_ssim":["false"],"extent_ssm":["3.59 Linear Feet 4 Boxes"],"extent_tesim":["3.59 Linear Feet 4 Boxes"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1970-2008\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eSubject Files, 1972-2000\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series: Series 1: Personal Files, 1970-2008 and Series 2: Subject Files, 1972-2000.","Series 1\n        Personal Files, 1970-2008\n      \n      \n        Series 2\n        Subject Files, 1972-2000"],"bioghist_html_tesm":["\u003cp\u003eZelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.\u003c/p\u003e","\u003cp\u003eNordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood. \u003c/p\u003e","\u003cp\u003eAs a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as \u003ctitle\u003eThe Back Page\u003c/title\u003e, \u003ctitle\u003eThe New Yorker\u003c/title\u003e, and \u003ctitle\u003eMs. Magazine\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eNordlinger died March 18, 2008, in Richmond, Virginia. \u003c/p\u003e","\u003cp\u003eSources:\u003c/p\u003e","\u003cp\u003eRobertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" \u003ctitle\u003eRichmond Times-Dispatch\u003c/title\u003e.  \u003cextref type=\"simple\" href=\"https://www.richmond.com/entertainment/zelda-k-nordlinger-feminist-activist-dies/article_179f2bbf-6612-52f0-a8c7-77d83f243385.html\"\u003e (Article link) \u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eVCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n\u003cextref type=\"simple\" href=\"https://digital.library.vcu.edu/islandora/object/vcu%3Aohi?page=1\"\u003e (Interview link)\u003c/extref\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Zelda Kingoff Nordlinger was an active particpant in movements for women's rights in Richmond, Virginia and co-founder of the Richmond branch of the National Organization for Women (NOW). She was born on January 29, 1932, in Greenville, South Carolina to Joseph Kingoff and Alice Heiner Kingoff. She graduated from Thomas Jefferson High School in 1950. She later attended Marjorie Webster Jr. College in Washington, D.C. in 1952 and Sally Tompkins School of Practical Nursing in 1963. She married Martin Stanford Nordlinger (1930-2002) in 1963. Nordlinger later attended Virginia Commonwealth University graduating with a Bachelor of General Studies degree in 1985.","Nordlinger was a staunch advocate for the national legalization of abortion. Prior to the Roe v. Wade decision in 1973, she assisted women in Richmond in finding legal avenues for safe abortions. She co-founded the Richmond chapter of the National Organization for Women (NOW) with Mary Holt Woolfolk Carlton in 1969, gaining its charter in 1973. She maintained membership with multiple women's activism groups in the Richmond area including the Women's Lobby of Virginia, Virginia Foundation for Women (VFW), and Planned Parenthood.","As a member of NOW, Nordlinger participated in various efforts in the Richmond area to ensure reproductive rights, rape victim protection, and to end sexual segregation. She led a sit-in to integrate the all-male soup bar of the Richmond Thalhimers Department Store in 1970. At NOW conventions and demonstrations, she often delivered speeches discussing various topics in regard to women's rights. Additionally, Nordlinger furthered her activism as a freelance writer, composing essays and short stories which highlighted the social injustices women faced. Nordlinger regularly submitted her writings for publication in feminist and mainstream magazines such as The Back Page, The New Yorker, and Ms. Magazine.","Nordlinger died March 18, 2008, in Richmond, Virginia.","Sources:","Robertson, Ellen and McKelway, Bill. \"Zelda K. Nordlinger, feminist activist, dies,\" Richmond Times-Dispatch.   (Article link)","VCU Libraries, VCU Libraries Digital Collections, Zelda Kingoff Nordlinger Interviews. \n (Interview link)"],"prefercite_html_tesm":["\u003cp\u003eZelda K. Nordlinger papers, 1970-2008, Collection # M 089, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA.\u003c/p\u003e  "],"prefercite_tesim":["Zelda K. Nordlinger papers, 1970-2008, Collection # M 089, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA."],"scopecontent_html_tesm":["\u003cp\u003eThe Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals. \u003c/p\u003e","\u003cp\u003eSeries 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women. \u003c/p\u003e","\u003cp\u003eIncluded with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality. \u003c/p\u003e","\u003cp\u003eInformational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.\u003c/p\u003e","\u003cp\u003eCorrespondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.\u003c/p\u003e","\u003cp\u003eExamples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories. \u003c/p\u003e","\u003cp\u003eSeries 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women. \u003c/p\u003e","\u003cp\u003eAdditionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications \u003ctitle\u003eMs. Magazine\u003c/title\u003e, \u003ctitle\u003eThe Woman's Calendar\u003c/title\u003e, and \u003ctitle\u003eMother Jones\u003c/title\u003e. Other magazines used for her research include the first issue of \u003ctitle\u003ePlaygirl\u003c/title\u003e and an issue of \u003ctitle\u003eTime\u003c/title\u003e. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Zelda K. Nordlinger Papers, 1970-2008, is a collection of files used by Richmond, Virginia feminist and women's rights activist Zelda Kingoff Nordlinger. The papers provide insight into the second-wave feminist movement in the Richmond area with examples of the experiences, methods of activism, and organizations Nordlinger and her colleagues used to further their goals.","Series 1: Personal Files, 1970-2008: The bulk of the collection is comprised of the personal papers of Zelda Nordlinger regarding her work in women's activism in the Richmond area. The material consists of various newsletters, mailings, and pamphlets distributed by feminist groups to disseminate information relevant to their goals. Much of the material focuses on lobbying for the ratification of the Equal Rights Amendment (ERA) or other legislation to further the rights held by women.","Included with these materials is Nordlinger's collection of political and activist buttons. The buttons display images and messages related to Nordlinger's areas of interest such as the ratification the ERA, advocating for abortion rights, and promoting women's equality.","Informational pamphlets within the collections explore topics ranging from the effects of rape on society, the role of women throughout history, women's medical rights, and the roles of consent in relationships. Others act as political promotional material, often supporting feminist-oriented candidates for office or new legislation, such as the ERA and bills supporting LGBTQ rights. A series of pamphlets in Dutch is also included in the collection, exploring sexism in the Netherlands and its effects on wages and women's roles in Dutch society in the 1970s.","Correspondence written by and to Nordlinger provides insight into Nordlinger's professional and personal life. Professional correspondence provides examples of negotiations with publishers for her short stories and essays, donation of personal materials to libraries in Virginia, and coordinating events such as NOW meetings. Personal correspondence provides an emotional viewpoint of the feminist movement in the Richmond area, as letters by Nordlinger and various Richmond women explain the impact which the women's movement has played on their lives.","Examples of Nordlinger's speeches, research notes, and personal and professional correspondence are represented in the collection. Speech note cards created for use by Nordlinger in delivering speeches and presentations on women's issues provide examples of the most pertinent issues for Nordlinger, such as the impact of pornography on women. Research notes contain information compiled by Nordlinger from various sources for use in her writings. Such writings include several short stories portraying the struggles of women in modern society, as well as historical essays examining how world politics affect women globally. Examples of her works are represented in this series as selections of essays and short stories.","Series 2: Subject Files, 1972-2000: The collection also contains a significant compilation of subject files which Nordlinger used for research into topics related to women's advocacy. These subject files are comprised of newspaper articles and magazine features which focus on then-contemporary analyses of the place of women in various aspects of society. Such topics explored in the subject files include women's fight for the right of abortion, the impacts of feminism, and the detrimental effects of pornography on the roles of women.","Additionally, Series 2 includes assorted magazines which Nordlinger used in her research, such as multiple issues of the feminist-oriented publications Ms. Magazine, The Woman's Calendar, and Mother Jones. Other magazines used for her research include the first issue of Playgirl and an issue of Time. All magazines used in Nordlinger's research contain articles regarding the benefits of feminist attitudes or examples of why feminism is needed in modern society."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"corpname_ssim":["VCU James Branch Cabell Library","National Organization for Women"],"names_coll_ssim":["National Organization for Women","Nordlinger, Zelda Kingoff","Nordlinger, Zelda Kingoff"],"persname_ssim":["Nordlinger, Zelda Kingoff"],"names_ssim":["VCU James Branch Cabell Library","National Organization for Women","Nordlinger, Zelda Kingoff"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":73,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:16.668Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vircu_repositories_5_resources_574"}},{"id":"viw_repositories_2_resources_9276","type":"collection","attributes":{"title":"Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9276#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eIncludes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9276#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9276","ead_ssi":"viw_repositories_2_resources_9276","_root_":"viw_repositories_2_resources_9276","_nest_parent_":"viw_repositories_2_resources_9276","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9276.xml","title_filing_ssi":"Nordlinger, Zelda","title_ssm":["Zelda Nordlinger Papers"],"title_tesim":["Zelda Nordlinger Papers"],"unitdate_ssm":["1969-1998","1970-1977"],"unitdate_inclusive_ssm":["1969-1998"],"unitdate_bulk_ssim":["1970-1977"],"normalized_date_ssm":["1969/1998, bulk 1970/1977"],"normalized_title_ssm":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"text":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977","Mss. 98 N75","/repositories/2/resources/9276","American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Zelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women.","Processed by Andrea Calabretta in 1999.","Includes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","National Organization for Women","English"],"collection_title_tesim":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"collection_ssim":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. 98 N75","/repositories/2/resources/9276"],"unitid_tesim":["Mss. 98 N75","/repositories/2/resources/9276"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center","National Organization for Women"],"creators_ssim":["Special Collections Research Center","National Organization for Women"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Gift of Zelda Nordlinger in October 1998."],"access_subjects_ssim":["American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs"],"access_subjects_ssm":["American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Correspondence","Fliers (printed matter)","Photographs"],"date_range_isim":[1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eZelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Zelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women."],"prefercite_html_tesm":["\u003cp\u003eZelda Nordlinger Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Zelda Nordlinger Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Andrea Calabretta in 1999.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Processed by Andrea Calabretta in 1999."],"scopecontent_html_tesm":["\u003cp\u003eIncludes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Includes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","National Organization for Women"],"names_coll_ssim":["National Organization for Women"],"names_ssim":["Special Collections Research Center","National Organization for Women"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:05:03.511Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9276","ead_ssi":"viw_repositories_2_resources_9276","_root_":"viw_repositories_2_resources_9276","_nest_parent_":"viw_repositories_2_resources_9276","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9276.xml","title_filing_ssi":"Nordlinger, Zelda","title_ssm":["Zelda Nordlinger Papers"],"title_tesim":["Zelda Nordlinger Papers"],"unitdate_ssm":["1969-1998","1970-1977"],"unitdate_inclusive_ssm":["1969-1998"],"unitdate_bulk_ssim":["1970-1977"],"normalized_date_ssm":["1969/1998, bulk 1970/1977"],"normalized_title_ssm":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"text":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977","Mss. 98 N75","/repositories/2/resources/9276","American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Zelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women.","Processed by Andrea Calabretta in 1999.","Includes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","National Organization for Women","English"],"collection_title_tesim":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"collection_ssim":["Zelda Nordlinger Papers, 1969/1998, bulk 1970/1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. 98 N75","/repositories/2/resources/9276"],"unitid_tesim":["Mss. 98 N75","/repositories/2/resources/9276"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center","National Organization for Women"],"creators_ssim":["Special Collections Research Center","National Organization for Women"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Gift of Zelda Nordlinger in October 1998."],"access_subjects_ssim":["American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs"],"access_subjects_ssm":["American Civil Liberties Union--History--20th century","Equal Rights Amendment","Correspondence","Fliers (printed matter)","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Correspondence","Fliers (printed matter)","Photographs"],"date_range_isim":[1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eZelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Zelda Nordlinger of Richmond, Virginia was a woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women."],"prefercite_html_tesm":["\u003cp\u003eZelda Nordlinger Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Zelda Nordlinger Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Andrea Calabretta in 1999.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Processed by Andrea Calabretta in 1999."],"scopecontent_html_tesm":["\u003cp\u003eIncludes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Includes many letters, newspaper clippings, and feminist related items of Zelda Nordlinger, a Richmond, VA woman's activist and state co-coordinator of the Virginia chapter of the National Organization for Women. Includes information on the origins of the National Organization for Women, as well as the Equal Rights Amendment and the abortion issue. Also contains several newsletters published by feminist organizations, pamphlets, photographs, and correspondence with other feminist activists in the state."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","National Organization for Women"],"names_coll_ssim":["National Organization for Women"],"names_ssim":["Special Collections Research Center","National Organization for Women"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:05:03.511Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9276"}},{"id":"vifgm_arenastage_c05_c02_c04","type":"File","attributes":{"title":"Zelda Talk on Playing in Rep - During a Change Over, 1974","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c02_c04#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePartially Unraveling \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c05_c02_c04","ref_ssm":["vifgm_arenastage_c05_c02_c04"],"id":"vifgm_arenastage_c05_c02_c04","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c05_c02","parent_ssi":"vifgm_arenastage_c05_c02","parent_ssim":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c05","vifgm_arenastage_c05_c02"],"title_filing_ssi":"Zelda Talk on Playing in Rep - During a Change Over,","title_ssm":["Zelda Talk on Playing in Rep - During a Change Over"],"title_tesim":["Zelda Talk on Playing in Rep - During a Change Over"],"normalized_title_ssm":["Zelda Talk on Playing in Rep - During a Change Over, 1974"],"text":["Zelda Talk on Playing in Rep - During a Change Over, 1974","Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985","Box 730","Partially Unraveling"],"parent_unittitles_ssm":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"parent_unittitles_tesim":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"normalized_date_ssm":["1974"],"unitdate_other_ssim":["December 13,1974"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":8190,"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records, 1949/2010"],"containers_ssim":["Box 730"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1974],"scopecontent_html_tesm":["\u003cp\u003ePartially Unraveling\n\u003c/p\u003e\n            "],"scopecontent_tesim":["Partially Unraveling"],"_nest_path_":"/components#4/components#1/components#3","timestamp":"2026-08-14T22:33:52.170Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"normalized_date_ssm":["1949/2010"],"normalized_title_ssm":["Arena Stage records, 1949/2010"],"text":["Arena Stage records, 1949/2010","C0017","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)","Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English"],"collection_title_tesim":["Arena Stage records, 1949/2010"],"collection_ssim":["Arena Stage records, 1949/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"unitid_tesim":["C0017"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n      ","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e\n      ","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n    "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990."],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n      ","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n      ","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n      ","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n      ","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n      ","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e\n      ","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e\n      ","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e\n    "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n      ","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n      ","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n      ","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n      ","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n      ","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e\n      "],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:33:52.170Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c02_c04"}},{"id":"vifgm_repositories_2_resources_416_c05_c02_c04","type":"File","attributes":{"title":"Zelda Talk on Playing in Rep - During a Change Over, 1974","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c05_c02_c04#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePartially Unraveling\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c05_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c05_c02_c04","ref_ssm":["vifgm_repositories_2_resources_416_c05_c02_c04"],"id":"vifgm_repositories_2_resources_416_c05_c02_c04","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c05_c02","parent_ssi":"vifgm_repositories_2_resources_416_c05_c02","parent_ssim":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c05","vifgm_repositories_2_resources_416_c05_c02"],"title_filing_ssi":"Zelda Talk on Playing in Rep - During a Change Over","title_ssm":["Zelda Talk on Playing in Rep - During a Change Over"],"title_tesim":["Zelda Talk on Playing in Rep - During a Change Over"],"normalized_title_ssm":["Zelda Talk on Playing in Rep - During a Change Over, 1974"],"text":["Zelda Talk on Playing in Rep - During a Change Over, 1974","Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985","box 730","Partially Unraveling"],"parent_unittitles_ssm":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"parent_unittitles_tesim":["Arena Stage records, 1949/2010","Series 5: Audiovisual materials, 1970/2007","Subseries 5.2: Reel-to-reel, 1970/1985"],"normalized_date_ssm":["1974"],"unitdate_other_ssim":["December 13,1974"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":8190,"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records, 1949/2010"],"containers_ssim":["box 730"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1974],"scopecontent_html_tesm":["\u003cp\u003ePartially Unraveling\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Partially Unraveling"],"_nest_path_":"/components#4/components#1/components#3","timestamp":"2026-08-14T22:34:46.877Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_filing_ssi":"Arena Stage records","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"normalized_date_ssm":["1949/2010"],"normalized_title_ssm":["Arena Stage records, 1949/2010"],"text":["Arena Stage records, 1949/2010","C0017","/repositories/2/resources/416","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","There are no access restrictions.","to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series\n      Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n      Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n      Series 3: Photographs, 1950-1991 (Boxes 589-639)\n      Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n      Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)","Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","R 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"collection_title_tesim":["Arena Stage records, 1949/2010"],"collection_ssim":["Arena Stage records, 1949/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"accruals_html_tesm":["\u003cp\u003eto this collection are expected.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series\n      Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n      Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n      Series 3: Photographs, 1950-1991 (Boxes 589-639)\n      Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n      Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e\n            ","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e\n","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990."],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:46.877Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c05_c02_c04"}},{"id":"vifgm_repositories_2_resources_9_c02_c158","type":"File","attributes":{"title":"Zelinksi, Wilbur, 1973/1974","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_9_c02_c158#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_9_c02_c158","ref_ssm":["vifgm_repositories_2_resources_9_c02_c158"],"id":"vifgm_repositories_2_resources_9_c02_c158","ead_ssi":"vifgm_repositories_2_resources_9","_root_":"vifgm_repositories_2_resources_9","_nest_parent_":"vifgm_repositories_2_resources_9_c02","parent_ssi":"vifgm_repositories_2_resources_9_c02","parent_ssim":["Pioneer America Society records","Series 2: Correspondence, 1967/1978"],"parent_ids_ssim":["vifgm_repositories_2_resources_9","vifgm_repositories_2_resources_9_c02"],"title_filing_ssi":"Zelinksi, Wilbur","title_ssm":["Zelinksi, Wilbur"],"title_tesim":["Zelinksi, Wilbur"],"normalized_title_ssm":["Zelinksi, Wilbur, 1973/1974"],"text":["Zelinksi, Wilbur, 1973/1974","Pioneer America Society records","Series 2: Correspondence, 1967/1978","box 9","folder 7"],"parent_unittitles_ssm":["Pioneer America Society records","Series 2: Correspondence, 1967/1978"],"parent_unittitles_tesim":["Pioneer America Society records","Series 2: Correspondence, 1967/1978"],"normalized_date_ssm":["1973/1974"],"unitdate_other_ssim":["1973-1974"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":169,"repository_ssim":["George Mason University"],"collection_ssim":["Pioneer America Society records"],"containers_ssim":["box 9","folder 7"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1973,1974],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#1/components#157","timestamp":"2026-08-14T22:35:20.288Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_9","ead_ssi":"vifgm_repositories_2_resources_9","_root_":"vifgm_repositories_2_resources_9","_nest_parent_":"vifgm_repositories_2_resources_9","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_9.xml","title_ssm":["Pioneer America Society records"],"title_tesim":["Pioneer America Society records"],"unitdate_ssm":["1964-1980"],"unitdate_inclusive_ssm":["1964-1980"],"normalized_title_ssm":["Pioneer America Society records"],"text":["Pioneer America Society records","C0011","/repositories/2/resources/9","Virginia, Northern","Historic Preservation -- United States","There are no access restrictions.","Arranged into five series.","Series\n      Series 1: Northern Virginia Chapter Business, 1969-1979 (Box 1)\n      Series 2: Correspondence, 1967-1978 (Boxes 2-9)\n      Series 3: Subject Files, 1967-1978 (Boxes 9-10)\n      Series 4: Printed Material, 1964-1980 (Boxes 11-12)\n      Series 5: Oversize, 1970s (Box 13)","The Pioneer America Society (PAS) is a national non-profit organization dedicated to the preservation and study of sites that represent North American history and material culture. Organized in 1967 by Henry H. Douglas, a resident of Falls Church, Virginia, the Society documents and interprets architecture and artifacts in addition to encouraging education, research, and preservation. In 2014 the Society's board approved a new name change, and it is now known as the International Society for Landscape, Place, and Material Culture. Their website is available","This collection was processed in 1989 by Special Collections Research Center Staff. In 2008, the collection was re-processed by Beth Jante and Sean Tennant, Special Collections Research Center Staff. Finding aid updated by Amanda Brent in November 2020.","The Special Collections Research Center also holds other collections that document planning in Northern Virginia.","The Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research. The five series are: Northern Virginia Chapter Business from 1969 to 1979, Correspondence from 1967 to 1978, arranged alphabetically, Subject Files from 1967 to 1978, Printed Material from 1964 to 1980, and Oversize materials from the 1970s.","The first series, Northern Virginia Chapter Business, covers the period from 1969 to 1979. This series is composed of materials pertaining to the activities of the Northern Virginia Chapter and includes the Chapter history, membership, interest sheets, and newspaper clippings. Also included in this series are the Chapter minutes and the notice of dissolution for the Chapter.","The second series, Correspondence, covers the period from 1967 to 1978. This series includes a collection of the correspondence between the Northern Virginia Chapter and its members, arranged alphabetically. This series also includes photographs and drawings from the Chapters members, as well as maps and newspaper clippings. These documents record the findings and investigations of the Chapters' members and provide information about the history of the region.","The third series, Subject Files, covers the time between 1967 and 1978. This series includes information about the Northern Virginia Chapters' bylaws, invoices, and charter members. Also included in this collection is information about the Chapters' annual meetings and the American Association for State and Local History Award. This series chronicles the history of the Northern Virginia Chapter and its activities in the 1960s and 1970s.","The fourth series, Printed Material, ranges from 1964 to 1980. The series contains the publications of the Northern Virginia Chapter and includes the Chapter newsletters and brochures. Additionally, the series includes the publications \"Echoes of History\" and \"Headquarters Heliogram,\" which contain articles from the Chapters' members and detail their findings and history of the region.","The fifth series contains oversized items from the 1970s, including unidentified newsletters and other publications from the Northern Virginia Chapter.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research.","George Mason University. Libraries. Special Collections Research Center","Pioneer America Society","Douglas, Henry H., 1903-1987","English\n."],"collection_title_tesim":["Pioneer America Society records"],"collection_ssim":["Pioneer America Society records"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0011","/repositories/2/resources/9"],"unitid_tesim":["C0011","/repositories/2/resources/9"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Virginia, Northern"],"geogname_ssim":["Virginia, Northern"],"places_ssim":["Virginia, Northern"],"creator_ssm":["Douglas, Henry H., 1903-1987"],"creator_ssim":["Douglas, Henry H., 1903-1987"],"creator_persname_ssim":["Douglas, Henry H., 1903-1987"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Pioneer America Society"],"creators_ssim":["Douglas, Henry H., 1903-1987","George Mason University. Libraries. Special Collections Research Center","Pioneer America Society"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["This collection was donated by the Estate of Henry H. Douglas (David F. MacGhee, Executor) in 1989."],"access_subjects_ssim":["Historic Preservation -- United States"],"access_subjects_ssm":["Historic Preservation -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["7 Linear Feet 13 boxes"],"extent_tesim":["7 Linear Feet 13 boxes"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into five series.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Northern Virginia Chapter Business, 1969-1979 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Correspondence, 1967-1978 (Boxes 2-9)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Subject Files, 1967-1978 (Boxes 9-10)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Printed Material, 1964-1980 (Boxes 11-12)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1970s (Box 13)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into five series.","Series\n      Series 1: Northern Virginia Chapter Business, 1969-1979 (Box 1)\n      Series 2: Correspondence, 1967-1978 (Boxes 2-9)\n      Series 3: Subject Files, 1967-1978 (Boxes 9-10)\n      Series 4: Printed Material, 1964-1980 (Boxes 11-12)\n      Series 5: Oversize, 1970s (Box 13)"],"bioghist_html_tesm":["\u003cp\u003eThe Pioneer America Society (PAS) is a national non-profit organization dedicated to the preservation and study of sites that represent North American history and material culture. Organized in 1967 by Henry H. Douglas, a resident of Falls Church, Virginia, the Society documents and interprets architecture and artifacts in addition to encouraging education, research, and preservation. In 2014 the Society's board approved a new name change, and it is now known as the International Society for Landscape, Place, and Material Culture. Their website is available \u003cextptr show=\"new\" title=\"here.\" href=\"https://www.pioneeramerica.org/index.html\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Pioneer America Society (PAS) is a national non-profit organization dedicated to the preservation and study of sites that represent North American history and material culture. Organized in 1967 by Henry H. Douglas, a resident of Falls Church, Virginia, the Society documents and interprets architecture and artifacts in addition to encouraging education, research, and preservation. In 2014 the Society's board approved a new name change, and it is now known as the International Society for Landscape, Place, and Material Culture. Their website is available"],"prefercite_html_tesm":["\u003cp\u003ePioneer America Society records, C0011, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Pioneer America Society records, C0011, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed in 1989 by Special Collections Research Center Staff. In 2008, the collection was re-processed by Beth Jante and Sean Tennant, Special Collections Research Center Staff. Finding aid updated by Amanda Brent in November 2020.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed in 1989 by Special Collections Research Center Staff. In 2008, the collection was re-processed by Beth Jante and Sean Tennant, Special Collections Research Center Staff. Finding aid updated by Amanda Brent in November 2020."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds other collections that document planning in Northern Virginia.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds other collections that document planning in Northern Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research. The five series are: Northern Virginia Chapter Business from 1969 to 1979, Correspondence from 1967 to 1978, arranged alphabetically, Subject Files from 1967 to 1978, Printed Material from 1964 to 1980, and Oversize materials from the 1970s. \u003c/p\u003e","\u003cp\u003e The first series, Northern Virginia Chapter Business, covers the period from 1969 to 1979. This series is composed of materials pertaining to the activities of the Northern Virginia Chapter and includes the Chapter history, membership, interest sheets, and newspaper clippings. Also included in this series are the Chapter minutes and the notice of dissolution for the Chapter. \u003c/p\u003e","\u003cp\u003e The second series, Correspondence, covers the period from 1967 to 1978. This series includes a collection of the correspondence between the Northern Virginia Chapter and its members, arranged alphabetically. This series also includes photographs and drawings from the Chapters members, as well as maps and newspaper clippings. These documents record the findings and investigations of the Chapters' members and provide information about the history of the region. \u003c/p\u003e","\u003cp\u003e The third series, Subject Files, covers the time between 1967 and 1978. This series includes information about the Northern Virginia Chapters' bylaws, invoices, and charter members. Also included in this collection is information about the Chapters' annual meetings and the American Association for State and Local History Award. This series chronicles the history of the Northern Virginia Chapter and its activities in the 1960s and 1970s. \u003c/p\u003e","\u003cp\u003e The fourth series, Printed Material, ranges from 1964 to 1980. The series contains the publications of the Northern Virginia Chapter and includes the Chapter newsletters and brochures. Additionally, the series includes the publications \"Echoes of History\" and \"Headquarters Heliogram,\" which contain articles from the Chapters' members and detail their findings and history of the region. \u003c/p\u003e","\u003cp\u003e The fifth series contains oversized items from the 1970s, including unidentified newsletters and other publications from the Northern Virginia Chapter. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research. The five series are: Northern Virginia Chapter Business from 1969 to 1979, Correspondence from 1967 to 1978, arranged alphabetically, Subject Files from 1967 to 1978, Printed Material from 1964 to 1980, and Oversize materials from the 1970s.","The first series, Northern Virginia Chapter Business, covers the period from 1969 to 1979. This series is composed of materials pertaining to the activities of the Northern Virginia Chapter and includes the Chapter history, membership, interest sheets, and newspaper clippings. Also included in this series are the Chapter minutes and the notice of dissolution for the Chapter.","The second series, Correspondence, covers the period from 1967 to 1978. This series includes a collection of the correspondence between the Northern Virginia Chapter and its members, arranged alphabetically. This series also includes photographs and drawings from the Chapters members, as well as maps and newspaper clippings. These documents record the findings and investigations of the Chapters' members and provide information about the history of the region.","The third series, Subject Files, covers the time between 1967 and 1978. This series includes information about the Northern Virginia Chapters' bylaws, invoices, and charter members. Also included in this collection is information about the Chapters' annual meetings and the American Association for State and Local History Award. This series chronicles the history of the Northern Virginia Chapter and its activities in the 1960s and 1970s.","The fourth series, Printed Material, ranges from 1964 to 1980. The series contains the publications of the Northern Virginia Chapter and includes the Chapter newsletters and brochures. Additionally, the series includes the publications \"Echoes of History\" and \"Headquarters Heliogram,\" which contain articles from the Chapters' members and detail their findings and history of the region.","The fifth series contains oversized items from the 1970s, including unidentified newsletters and other publications from the Northern Virginia Chapter."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e114a22deeffb755de1e687392a79204\" label=\"Abstract\"\u003eThe Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Pioneer America Society Collection (PAS) contains material related to the activities of the Northern Virginia Chapter of the PAS from 1967 to 1980. Additionally, the collection includes the publications and findings of the Chapter during that time period, including photographs and maps. The collection is divided into five series for easy use and research."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Pioneer America Society"],"names_coll_ssim":["Pioneer America Society"],"persname_ssim":["Douglas, Henry H., 1903-1987"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Pioneer America Society","Douglas, Henry H., 1903-1987"],"language_ssim":["English\n."],"total_component_count_is":221,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:20.288Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_9_c02_c158"}},{"id":"viblbv_repositories_2_resources_1855","type":"collection","attributes":{"title":"Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","creator":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855#creator","type":"document_value","attributes":{"value":"Wilson, Zelma, 1918-1996","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855#abstract_or_scope","type":"document_value","attributes":{"value":"Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm. Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects. Materials range in date from 1940-1995 (bulk 1969-1991).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viblbv_repositories_2_resources_1855","ead_ssi":"viblbv_repositories_2_resources_1855","_root_":"viblbv_repositories_2_resources_1855","_nest_parent_":"viblbv_repositories_2_resources_1855","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1855.xml","title_filing_ssi":"Wilson, Zelma, Architectural Collection","title_ssm":["Zelma Wilson Architectural Collection"],"title_tesim":["Zelma Wilson Architectural Collection"],"unitdate_ssm":["1940-1995","1969-1991"],"unitdate_inclusive_ssm":["1940-1995"],"unitdate_bulk_ssim":["1969-1991"],"normalized_date_ssm":["1940/1995, bulk 1969/1991"],"normalized_title_ssm":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"text":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","Ms.1991.046","Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)","The collection is open for research.","Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\"","The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.","Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).","Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996","The materials in the collection are in English."],"collection_title_tesim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"collection_ssim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.1991.046"],"unitid_tesim":["Ms.1991.046"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Wilson, Zelma, 1918-1996"],"creator_ssim":["Wilson, Zelma, 1918-1996"],"creator_persname_ssim":["Wilson, Zelma, 1918-1996"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"creators_ssim":["Wilson, Zelma, 1918-1996","Special Collections and University Archives, Virginia Tech"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Zelma Wilson Architectural Collection was donated to Special Collections in 1991 with the bulk of the collection arriving in 1996."],"access_subjects_ssim":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"extent_tesim":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"genreform_ssim":["Architectural drawings (visual works)"],"date_range_isim":[1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eZelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"\u003c/p\u003e","\u003cp\u003eAfter working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995). \u003c/p\u003e","\u003cp\u003eHer projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\" \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\""],"odd_html_tesm":["\u003cp\u003eThe guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006."],"scopecontent_html_tesm":["\u003cp\u003eZelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a5530344875689115357e4bee240e5e1\" label=\"Abstract\"\u003eWilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).\u003c/abstract\u003e\n    "],"abstract_tesim":["Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991)."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Wilson, Zelma, 1918-1996"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":417,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:30:00.355Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_1855","ead_ssi":"viblbv_repositories_2_resources_1855","_root_":"viblbv_repositories_2_resources_1855","_nest_parent_":"viblbv_repositories_2_resources_1855","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1855.xml","title_filing_ssi":"Wilson, Zelma, Architectural Collection","title_ssm":["Zelma Wilson Architectural Collection"],"title_tesim":["Zelma Wilson Architectural Collection"],"unitdate_ssm":["1940-1995","1969-1991"],"unitdate_inclusive_ssm":["1940-1995"],"unitdate_bulk_ssim":["1969-1991"],"normalized_date_ssm":["1940/1995, bulk 1969/1991"],"normalized_title_ssm":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"text":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","Ms.1991.046","Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)","The collection is open for research.","Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\"","The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.","Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).","Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996","The materials in the collection are in English."],"collection_title_tesim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"collection_ssim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.1991.046"],"unitid_tesim":["Ms.1991.046"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Wilson, Zelma, 1918-1996"],"creator_ssim":["Wilson, Zelma, 1918-1996"],"creator_persname_ssim":["Wilson, Zelma, 1918-1996"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"creators_ssim":["Wilson, Zelma, 1918-1996","Special Collections and University Archives, Virginia Tech"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Zelma Wilson Architectural Collection was donated to Special Collections in 1991 with the bulk of the collection arriving in 1996."],"access_subjects_ssim":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"extent_tesim":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"genreform_ssim":["Architectural drawings (visual works)"],"date_range_isim":[1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eZelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"\u003c/p\u003e","\u003cp\u003eAfter working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995). \u003c/p\u003e","\u003cp\u003eHer projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\" \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\""],"odd_html_tesm":["\u003cp\u003eThe guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006."],"scopecontent_html_tesm":["\u003cp\u003eZelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a5530344875689115357e4bee240e5e1\" label=\"Abstract\"\u003eWilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).\u003c/abstract\u003e\n    "],"abstract_tesim":["Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991)."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Wilson, Zelma, 1918-1996"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":417,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:30:00.355Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855"}},{"id":"viblbv_repositories_2_resources_1855_c01_c32","type":"File","attributes":{"title":"Zelma Wilson - Miscellaneous Files concerning architecture, 1971/1983","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855_c01_c32#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_1855_c01_c32","ref_ssm":["viblbv_repositories_2_resources_1855_c01_c32"],"id":"viblbv_repositories_2_resources_1855_c01_c32","ead_ssi":"viblbv_repositories_2_resources_1855","_root_":"viblbv_repositories_2_resources_1855","_nest_parent_":"viblbv_repositories_2_resources_1855_c01","parent_ssi":"viblbv_repositories_2_resources_1855_c01","parent_ssim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","SERIES I: Professional Papers, 1940/1993"],"parent_ids_ssim":["viblbv_repositories_2_resources_1855","viblbv_repositories_2_resources_1855_c01"],"title_filing_ssi":"Zelma Wilson - Miscellaneous Files concerning architecture","title_ssm":["Zelma Wilson - Miscellaneous Files concerning architecture"],"title_tesim":["Zelma Wilson - Miscellaneous Files concerning architecture"],"normalized_title_ssm":["Zelma Wilson - Miscellaneous Files concerning architecture, 1971/1983"],"text":["Zelma Wilson - Miscellaneous Files concerning architecture, 1971/1983","Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","SERIES I: Professional Papers, 1940/1993","box 22","folder 38"],"parent_unittitles_ssm":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","SERIES I: Professional Papers, 1940/1993"],"parent_unittitles_tesim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","SERIES I: Professional Papers, 1940/1993"],"normalized_date_ssm":["1971/1983"],"unitdate_inclusive_ssm":["1971-1983"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":33,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"containers_ssim":["box 22","folder 38"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"date_range_isim":[1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983],"_nest_path_":"/components#0/components#31","timestamp":"2026-08-14T22:30:00.355Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_1855","ead_ssi":"viblbv_repositories_2_resources_1855","_root_":"viblbv_repositories_2_resources_1855","_nest_parent_":"viblbv_repositories_2_resources_1855","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1855.xml","title_filing_ssi":"Wilson, Zelma, Architectural Collection","title_ssm":["Zelma Wilson Architectural Collection"],"title_tesim":["Zelma Wilson Architectural Collection"],"unitdate_ssm":["1940-1995","1969-1991"],"unitdate_inclusive_ssm":["1940-1995"],"unitdate_bulk_ssim":["1969-1991"],"normalized_date_ssm":["1940/1995, bulk 1969/1991"],"normalized_title_ssm":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"text":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991","Ms.1991.046","Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)","The collection is open for research.","Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\"","The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.","Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).","Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996","The materials in the collection are in English."],"collection_title_tesim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"collection_ssim":["Zelma Wilson Architectural Collection, 1940/1995, bulk 1969/1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.1991.046"],"unitid_tesim":["Ms.1991.046"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Wilson, Zelma, 1918-1996"],"creator_ssim":["Wilson, Zelma, 1918-1996"],"creator_persname_ssim":["Wilson, Zelma, 1918-1996"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"creators_ssim":["Wilson, Zelma, 1918-1996","Special Collections and University Archives, Virginia Tech"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Zelma Wilson Architectural Collection was donated to Special Collections in 1991 with the bulk of the collection arriving in 1996."],"access_subjects_ssim":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Architectural drawing -- 20th century","International Archive of Women in Architecture (IAWA)","Women -- History","Women-owned architectural firms","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"extent_tesim":["115.5 Cubic Feet 24 record cartons; 177 rolled drawings; 5 map-case drawers"],"genreform_ssim":["Architectural drawings (visual works)"],"date_range_isim":[1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eZelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"\u003c/p\u003e","\u003cp\u003eAfter working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995). \u003c/p\u003e","\u003cp\u003eHer projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\" \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Zelma Wilson (1918-1996) was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson was the only woman in her graduating class at USC that year.  Her husband, a screenwriter, was blacklisted in 1952 after co-producing a film about New Mexico zinc miners.  As a result the couple moved to Europe.  While in Paris, Zelma pursued her post graduate studies at L'Ecole de Beaux Arts and her husband wrote \"The Bridge on the River Kwai\" and co-wrote \"Lawrence of Arabia.\"","After working for the Los Angeles Planning Department, she obtained valuable experience in the offices of Richard Neutra, Victor Gruen Associates, R. M. Schindler, and Raphael Soriano.  By 1957 Wilson was licensed and in 1967 she became principle of her own firm, Zelma Wilson and Associates, AIA, which she maintained continuously for over 20 years.  She became a Fellow of the AIA in 1983 and guest lectured at Cal Poly San Luis Obispo for 10 years.  As her practice grew Wilson acquired two partners and changed the firm name to Wilson and Conrad, Architects, AIA (1979-1984).  The name shifted again as staffing and partnerships changed to The Ojai Group (1985-1986[?]) and finally Zelma Wilson, FAIA (1987[?]-1995).","Her projects started with houses and grew to institutional work, churches, and private schools.  Wilson served on the California State Governors Emergency Task Force on Earthquake Preparedness from 1979 until 1985. Her projects include Vandenberg AFB Child Development Center, Ojai City Hall and the Simi Valley Community Center. Asked once by a prospective male employer if she cried on the job, Wilson answered, \"I don't, but I've made a few contractors cry.\""],"odd_html_tesm":["\u003cp\u003eThe guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Zelma Wilson Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Zelma Wilson Architectural Collection, Ms1991-046, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Zelma Wilson Architectural Collection was completed in August 2011. Preliminary processing was undertaken January 2006."],"scopecontent_html_tesm":["\u003cp\u003eZelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Zelma Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm initially Zelma Wilson and Associates and its many iterations (Wilson and Conrad Architects, The Ojai Group, and  Zelma Wilson, FAIA). In the collection you will find biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991) and are divided into three categories:  Professional Papers, Office Records, and Project Records.   Review the contents list below for details on individual categories."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a5530344875689115357e4bee240e5e1\" label=\"Abstract\"\u003eWilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991).\u003c/abstract\u003e\n    "],"abstract_tesim":["Wilson (1918-1996) an architect in Ojai, CA was born in New York City but later relocated to Southern California. She studied at the University of California, Berkeley, 1937-1940; later the California Institute of Technology, Pasadena, CA, 1941; and graduated with a B. Arch from University of Southern California in 1947. Wilson's collection encompasses three decades of work that range from her academic through professional career—including her experience of operating her own firm.  Her collection contains biographical material, professional committee and association work, school work, client correspondence, office promotional materials, time logs, drawings, photographs and manuscript material relating to projects.  Materials range in date from 1940-1995 (bulk 1969-1991)."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Wilson, Zelma, 1918-1996"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Wilson, Zelma, 1918-1996"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":417,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:30:00.355Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1855_c01_c32"}},{"id":"viblbv_repositories_2_resources_1449_c03_c32_c23","type":"File","attributes":{"title":"Zenz, F. A., 1959/1982","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1449_c03_c32_c23#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_1449_c03_c32_c23","ref_ssm":["viblbv_repositories_2_resources_1449_c03_c32_c23"],"id":"viblbv_repositories_2_resources_1449_c03_c32_c23","ead_ssi":"viblbv_repositories_2_resources_1449","_root_":"viblbv_repositories_2_resources_1449","_nest_parent_":"viblbv_repositories_2_resources_1449_c03_c32","parent_ssi":"viblbv_repositories_2_resources_1449_c03_c32","parent_ssim":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987","C Series, Correspondence Files, 1947/1987","Box C-32, 1959/1987"],"parent_ids_ssim":["viblbv_repositories_2_resources_1449","viblbv_repositories_2_resources_1449_c03","viblbv_repositories_2_resources_1449_c03_c32"],"title_filing_ssi":"Zenz, F. A.","title_ssm":["Zenz, F. A."],"title_tesim":["Zenz, F. A."],"normalized_title_ssm":["Zenz, F. A., 1959/1982"],"text":["Zenz, F. A., 1959/1982","Arthur M. Squires Papers, 1888/1987, bulk 1940/1987","C Series, Correspondence Files, 1947/1987","Box C-32, 1959/1987"],"parent_unittitles_ssm":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987","C Series, Correspondence Files, 1947/1987","Box C-32, 1959/1987"],"parent_unittitles_tesim":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987","C Series, Correspondence Files, 1947/1987","Box C-32, 1959/1987"],"normalized_date_ssm":["1959/1982"],"unitdate_inclusive_ssm":["1959-1982"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":1601,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982],"_nest_path_":"/components#2/components#31/components#22","timestamp":"2026-08-14T22:29:27.856Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_1449","ead_ssi":"viblbv_repositories_2_resources_1449","_root_":"viblbv_repositories_2_resources_1449","_nest_parent_":"viblbv_repositories_2_resources_1449","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1449.xml","title_filing_ssi":"Squires, Arthur M., Papers","title_ssm":["Arthur M. Squires Papers"],"title_tesim":["Arthur M. Squires Papers"],"unitdate_ssm":["1888-1987","1940-1987"],"unitdate_inclusive_ssm":["1888-1987"],"unitdate_bulk_ssim":["1940-1987"],"normalized_date_ssm":["1888/1987, bulk 1940/1987"],"normalized_title_ssm":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987"],"text":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987","Ms.1987.006","Faculty and staff","Science and Technology","University History","Photographs","The collection is open for research.","This collection is arranged in six series: A Series-Subject Files; B Series-Publications; C Series-Correspondence Files; D Series-Diaries; E Series-Materials to go with the Walter E. Lobo/M. W. Kellogg Files (transferred to Lobo Papers, Ms1985-014); and F Series: Books for Archives.","Please note: There is no Box 10.","University Distinguished Professor Emeritus (1986-2012) of Chemical Engineering at Virginia Tech. Member, National Academy of Engineering. Fellow, American Academy of Arts and Sciences.","Educated at University of Missouri (A.B., 1938) and Cornell University (Ph.D., 1947).","Employment: M.W. Kellogg Company (the Kellex Corporation), 1942-1946, participating in design and startup of gaseous diffusion plant at Oak Ridge as part of the Manhattan Project; Hydrocarbon Research, Inc. of New York City, 1946-1959, architect-engineering firm (research laboratories at Trenton, New Jersey) catering to petroleum, chemical, and steel industries; self-employed consultant, 1959-1967; faculty of chemical engineering, The City College of The City University of New York (1967-1976), Department Chairman (1970-1973), Distinguished University Professor (1974-1976); Frank C. Vilbrandt Professor of Chemical Engineering (1976-1982), University Distinguished Professor (1978-1986), and University Distinguished Professor Emeritus (1986-2012) at Virginia Polytechnic Institute \u0026 State University.","Consultant for U.S. Bureau of Mines, Office of Coal Research, Electric Power Research Institute, United Nations, Office of Technology Assessment, Oak Ridge National Laboratory, and others.","Author of The Tender Ship: Governmental Management of Technological Change (1986).","Expert in fluid beds, petroleum refining, hydrocarbon synthesis, coal conversions (gasification, liquefaction, carbonization, combustion), iron ore reduction, low-temperature processes, dust filtration, air pollution control.","Born 1916. Died 2012.","The guide to the Arthur M. Squires Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement, and description of the Arthur M. Squires Papers was completed in prior to 2002. Additional description, based on the inventory and prior arrangement, was completed in 2010.","The Arthur M. Squires Papers, 1888-1987 (bulk 1940-1987), consist of extensive correspondence, unpublished research reports, lectures, trip reports, reprints, trip diaries (1968-1982), photographs (1979) from his trip to China, daily work books (1959-1981), and subject files spanning entire career. This collection is unprocessed.","Box E-1 was transferred to the Walter E. Lobo Papers, 1929-1955, Ms1985-014 in November 1987. The box contained:","\"The Improbable Achievement: Chemical Engineering at MIT\"","\"Large Scale Production of Oxygen - Combined Technical Oil Missions Holroyd Report - German Oil Technology\"","\"Guide to Refinery Operating Costs (Process Costimating)\"","\"The German Chemical Industry - A Bibliography of the Chemical, Metallurgical, and Process Industries\"","\"Enriched Air\"","\"List of Process Management's Translations of I. G. Reports - Set No. 46\"","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Please note: A Series-D Series are located in off-site storage and require 2-3 days notice for retrieval. Please contact Special Collections for more information.","Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)","Squires, Arthur M., 1916-2012","The materials in the collection are in English."],"collection_title_tesim":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987"],"collection_ssim":["Arthur M. Squires Papers, 1888/1987, bulk 1940/1987"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.1987.006"],"unitid_tesim":["Ms.1987.006"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Squires, Arthur M., 1916-2012"],"creator_ssim":["Squires, Arthur M., 1916-2012"],"creator_persname_ssim":["Squires, Arthur M., 1916-2012"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)"],"creators_ssim":["Squires, Arthur M., 1916-2012","Special Collections and University Archives, Virginia Tech","Virginia Polytechnic Institute (1944-1970)","Virginia Polytechnic Institute and State University (1970-)"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The collection was donated to Special Collections and University Archives in 1987 and 1988."],"access_subjects_ssim":["Faculty and staff","Science and Technology","University History","Photographs"],"access_subjects_ssm":["Faculty and staff","Science and Technology","University History","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["72 Cubic Feet 72 boxes"],"extent_tesim":["72 Cubic Feet 72 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in six series: A Series-Subject Files; B Series-Publications; C Series-Correspondence Files; D Series-Diaries; E Series-Materials to go with the Walter E. Lobo/M. W. Kellogg Files (transferred to Lobo Papers, Ms1985-014); and F Series: Books for Archives.\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003ePlease note: There is no Box 10.\u003c/emph\u003e\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in six series: A Series-Subject Files; B Series-Publications; C Series-Correspondence Files; D Series-Diaries; E Series-Materials to go with the Walter E. Lobo/M. W. Kellogg Files (transferred to Lobo Papers, Ms1985-014); and F Series: Books for Archives.","Please note: There is no Box 10."],"bioghist_html_tesm":["\u003cp\u003eUniversity Distinguished Professor Emeritus (1986-2012) of Chemical Engineering at Virginia Tech. Member, National Academy of Engineering. Fellow, American Academy of Arts and Sciences. \u003c/p\u003e","\u003cp\u003eEducated at University of Missouri (A.B., 1938) and Cornell University (Ph.D., 1947). \u003c/p\u003e","\u003cp\u003eEmployment: M.W. Kellogg Company (the Kellex Corporation), 1942-1946, participating in design and startup of gaseous diffusion plant at Oak Ridge as part of the Manhattan Project; Hydrocarbon Research, Inc. of New York City, 1946-1959, architect-engineering firm (research laboratories at Trenton, New Jersey) catering to petroleum, chemical, and steel industries; self-employed consultant, 1959-1967; faculty of chemical engineering, The City College of The City University of New York (1967-1976), Department Chairman (1970-1973), Distinguished University Professor (1974-1976); Frank C. Vilbrandt Professor of Chemical Engineering (1976-1982), University Distinguished Professor (1978-1986), and University Distinguished Professor Emeritus (1986-2012) at Virginia Polytechnic Institute \u0026amp; State University. \u003c/p\u003e","\u003cp\u003eConsultant for U.S. Bureau of Mines, Office of Coal Research, Electric Power Research Institute, United Nations, Office of Technology Assessment, Oak Ridge National Laboratory, and others. \u003c/p\u003e","\u003cp\u003eAuthor of \u003cemph render=\"italic\"\u003eThe Tender Ship: Governmental Management of Technological Change\u003c/emph\u003e (1986). \u003c/p\u003e","\u003cp\u003eExpert in fluid beds, petroleum refining, hydrocarbon synthesis, coal conversions (gasification, liquefaction, carbonization, combustion), iron ore reduction, low-temperature processes, dust filtration, air pollution control. \u003c/p\u003e","\u003cp\u003eBorn 1916. Died 2012.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["University Distinguished Professor Emeritus (1986-2012) of Chemical Engineering at Virginia Tech. Member, National Academy of Engineering. Fellow, American Academy of Arts and Sciences.","Educated at University of Missouri (A.B., 1938) and Cornell University (Ph.D., 1947).","Employment: M.W. Kellogg Company (the Kellex Corporation), 1942-1946, participating in design and startup of gaseous diffusion plant at Oak Ridge as part of the Manhattan Project; Hydrocarbon Research, Inc. of New York City, 1946-1959, architect-engineering firm (research laboratories at Trenton, New Jersey) catering to petroleum, chemical, and steel industries; self-employed consultant, 1959-1967; faculty of chemical engineering, The City College of The City University of New York (1967-1976), Department Chairman (1970-1973), Distinguished University Professor (1974-1976); Frank C. Vilbrandt Professor of Chemical Engineering (1976-1982), University Distinguished Professor (1978-1986), and University Distinguished Professor Emeritus (1986-2012) at Virginia Polytechnic Institute \u0026 State University.","Consultant for U.S. Bureau of Mines, Office of Coal Research, Electric Power Research Institute, United Nations, Office of Technology Assessment, Oak Ridge National Laboratory, and others.","Author of The Tender Ship: Governmental Management of Technological Change (1986).","Expert in fluid beds, petroleum refining, hydrocarbon synthesis, coal conversions (gasification, liquefaction, carbonization, combustion), iron ore reduction, low-temperature processes, dust filtration, air pollution control.","Born 1916. Died 2012."],"odd_html_tesm":["\u003cp\u003eThe guide to the Arthur M. Squires Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Arthur M. Squires Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Arthur M. Squires Papers, 1888-1987 (bulk 1940-1987), Ms1987-006, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Arthur M. Squires Papers, 1888-1987 (bulk 1940-1987), Ms1987-006, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Arthur M. Squires Papers was completed in prior to 2002. Additional description, based on the inventory and prior arrangement, was completed in 2010.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Arthur M. Squires Papers was completed in prior to 2002. Additional description, based on the inventory and prior arrangement, was completed in 2010."],"scopecontent_html_tesm":["\u003cp\u003eThe Arthur M. Squires Papers, 1888-1987 (bulk 1940-1987), consist of extensive correspondence, unpublished research reports, lectures, trip reports, reprints, trip diaries (1968-1982), photographs (1979) from his trip to China, daily work books (1959-1981), and subject files spanning entire career. This collection is unprocessed.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Arthur M. Squires Papers, 1888-1987 (bulk 1940-1987), consist of extensive correspondence, unpublished research reports, lectures, trip reports, reprints, trip diaries (1968-1982), photographs (1979) from his trip to China, daily work books (1959-1981), and subject files spanning entire career. This collection is unprocessed."],"separatedmaterial_html_tesm":["\u003cp\u003eBox E-1 was transferred to the Walter E. 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The box contained:","\"The Improbable Achievement: Chemical Engineering at MIT\"","\"Large Scale Production of Oxygen - Combined Technical Oil Missions Holroyd Report - German Oil Technology\"","\"Guide to Refinery Operating Costs (Process Costimating)\"","\"The German Chemical Industry - A Bibliography of the Chemical, Metallurgical, and Process Industries\"","\"Enriched Air\"","\"List of Process Management's Translations of I. G. Reports - Set No. 46\""],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_8ada9e8fb68f1484eb84e7a03592017b\"\u003e\u003cemph render=\"bold\"\u003ePlease note:\u003c/emph\u003e A Series-D Series are located in off-site storage and require 2-3 days notice for retrieval. Please contact Special Collections for more information.\u003c/physloc\u003e\n    "],"physloc_tesim":["Please note: A Series-D Series are located in off-site storage and require 2-3 days notice for retrieval. 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